Five international movies to stream now

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Five international movies to stream now

In the age of streaming, the Earth is flat – the size of a screen – with travel to distant destinations just a monthly subscription and a click away. We’ve traveled a world of options and picked the best new international movies for you to watch.

Stream it on Netflix.

Between 1985 and 1987, Poland’s communist secret police engaged in a covert campaign targeting homosexuals: more than 11,000 individuals were arrested, forced to sign confessions, and in a national database. were registered, making them vulnerable to blackmail. “Operation Hyacinth,” Piotr Domalewski’s taut, twisty police procedural, unfolds in the thick of the project. When a high-profile gay socialite is murdered, police quickly find some helpless men in a cruising spot and threaten to confess to the crime. Robert (Tomasz Zitek), a rookie, overzealous cop, smells a rat and goes undercover to find out more. The truth—as you might expect from a neo-noir in which cigarette smoke lingers through dark, shady corridors and rain-drenched streets—becomes more complex and insidious than he thought. Soon, Robert’s beliefs – both about himself and the police – are unraveled.

“Operation Hyacinth” is a satisfying genre walk that moves at a fast, unpredictable clip, but its driving force is its rich emotional cinematography. Even when the film reintroduces the “tortured cop” trope, it avoids writing too much narrative hand-wringing about Robert’s repressed sexuality. Instead, Domlevsky approaches the character’s awakening to his desires with a light touch and rare moral clarity. At a climax, finding himself embroiled in betrayals and secrets, a distraught Robert tells his mother, “I lied to everyone.” She replies in a firm, steely tone: “But not for herself.”

Stream it on Mubi.

Adilkhan Yerzhanov’s “Yellow Cat” opens with a fascinatingly bizarre scene: in the middle of a vast Kazakh steppe, a man in a fedora and a trench coat goes to a grocery store looking for a job, and when about his skills When asked, he announces that he may star in every scene of Jean-Pierre Melville’s “Le Samoura”. It’s the oddball Kermack (Azamat Nigmanov), a wannabe Alain Delon who attributes his love of movies to the daily hours of television he was allowed to watch while growing up in an orphanage. He has just been released from prison and has dreams of opening the region’s first movie theater.

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This sugar-sweetened base defies the pungent darkness of “Yellow Cat.” Within minutes, Kermack is embroiled in an elaborate Mafia plot that forces him to flee to the sparse, windy grounds with a prostitute whom he rescues from a brothel. The peculiar scene—with references to “Taxi Driver” and a collective rendition of Gene Kelly’s “Singin’ in the Rain” by Kermack—is intertwined with a mysterious, often bloody cat-and-mouse tale that celebrates both and It obliterates the magic of cinema. One of the running jokes of the film is that Kermack doesn’t know how “Le Samuras” ends, after only watching an hour of film. His climax comes as both a surprise and an inevitable irony of fate, reminding us that, for all their aspirational glimpses, movies — or the good ones, at least — are just as forgiving of life.

Stream it on HBO Max.

The first feature of Pilar Palomero is the precise, naturalistic picture of the coming of puberty that can distract you from recognition. Set in the Spanish city of Zaragoza in 1992, the film follows 11-year-old Celia (Andrea Fandos) as she navigates the confusing terrain of early adolescence in an environment of stereotypes. She attends a strict Catholic convent where nuns teach young girls to suppress their voices, rather than risk anything less than elementary and perfect – an oppressive pedagogy that the film’s beginning is strikingly literal. depicts the form, in which a teacher instructs less accomplished singers in the school choir. including Celia) to quietly lip-sync. To make matters worse, the fact that Celia is raised by a single mother—and not knowing who her father is—makes her the subject of ridicule from her peers.

But Celia and her friends find their way into rebellion, and Palomero captures their experiments—parties, makeup, cigarettes—with touching detail, sensationalizing neither the frivolity nor the girls’ aspirations. At one point, Celia folds her T-shirt into a bra (which her mom can’t afford to buy, and which she doesn’t need right now) and wavers in front of her mirror, waving a cigarette-like pen. It’s a poignant encapsulation of the yearning that characterizes adolescence—the yearning for things you just can’t be, to be someone you just can’t be.

Stream it on Amazon Prime Video.

Amit Masurkar’s “Sherni” (Hindi for “Tiger”) has a genre of film I never knew I needed: a Forest Service procedural. Set in the jungles of central India, the film follows Vidya (Vidya Balan), a newly appointed forest officer in an area crossed by tigers. Vidya’s job, and her passion, is to protect and preserve the environment, but as she quickly finds out, there is much more at stake in her job. Industrial encroachments have robbed local villagers of grasslands for their cattle, forcing them to venture into areas frequented by tigers, whose killings also include humans. At the same time, warring local politicians milk these tragedies for their own sake, bringing in private hunters who care little about protecting the ecosystem or endangered animals.

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“Lioness” follows Vidya and her team as they wage a quiet fight against these forces of corruption, emphasizing equity, environmental justice, and above all, science: the institution of evidence and rationality that drives a Wayne world. I have fought fast. One of the pleasures of Masurkar’s well-researched script is that it devotes ample time to the nuances of forestry – tracking and tracing wildlife; The management of plants and water bodies—as well as weaving in the thrill of a creature—featuring a man-eating tigress as prey—captures the film’s final half-hour.

Stream it on Mubi.

The first part of Mohamed Ben Attia’s socio-realistic drama draws us into the lives of middle-aged Riyadh and Nazli and their disaffected, chronically ill 19-year-old son, Sami. Sami is about to take his graduation exams, which will determine his university prospects, and as Riyadh and Nazli devote all their time and meager resources to supporting him, Atiya becomes a moving portrait of a loving family. Finds the one who perseveres through all obstacles. But the director has fodder up his sleeve: In the middle of the film, Sami suddenly disappears and leaves for Syria, and “Dear Son” elaborates from a grainy kitchen-sink drama into a meditation on a nation’s plight. And one generation. Attention turns to Riyadh – played by an overbearing Mohamed Drif, whose sloping frame and tired face speak louder than words – as he travels to Syria to try to get his son back. The film resists the temptation to offer brilliant answers to complex socio-political questions, and instead captures with heart-wrenching empathy the grief, guilt, and betrayal of parents who do everything right, only that it They are left wondering what they did wrong.

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